François
Curlet
François
Curlet
Curlet
French, born in 1967
François Curlet's work is characterised by association, oxymoron and derision. Since the 1990s, he has created new artistic objects (sculptures and videos), which sometimes cause real intellectual short-circuits.
Harking back to the Dadaist technique of free association, Curlet gives concrete shape to incongruous connections. Works such as Moteur en osier (Wicker Engine) (1989), djellabas with sports brands’ labels (1998) and King Kong's hands clutching an Ethiopian stick (Caché (Hidden), 2012, in the Pinault Collection) make use of a wide-ranging vocabulary. Describing himself as "conceptual spaghetti", he has developed a genuine aesthetic of diversion and compels us to think critically.
Born in 1967, Curlet lives and works in Paris and Brussels, where he moved in the late 1980s. In the 2010s, several solo shows at major European museums established him as a key figure on the contemporary scene. The work in the Pinault Collection was first exhibited at the 2018 "Debout !" (“Stand Up!”) show at the Couvent des Jacobins in Rennes.
Harking back to the Dadaist technique of free association, Curlet gives concrete shape to incongruous connections. Works such as Moteur en osier (Wicker Engine) (1989), djellabas with sports brands’ labels (1998) and King Kong's hands clutching an Ethiopian stick (Caché (Hidden), 2012, in the Pinault Collection) make use of a wide-ranging vocabulary. Describing himself as "conceptual spaghetti", he has developed a genuine aesthetic of diversion and compels us to think critically.
Born in 1967, Curlet lives and works in Paris and Brussels, where he moved in the late 1980s. In the 2010s, several solo shows at major European museums established him as a key figure on the contemporary scene. The work in the Pinault Collection was first exhibited at the 2018 "Debout !" (“Stand Up!”) show at the Couvent des Jacobins in Rennes.
